Issues : Corrections in A
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b. 3
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composition: Op. 28 No. 21, Prelude in B♭ major
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In A one can see a crossing-out between the category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 4-8
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composition: Op. 24 No. 3, Mazurka in A♭ major category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
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b. 4-8
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composition: Op. 10 No 8, Etude in F major
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In A it can be seen that the crotchets in the middle of bars 4 (g) and 8 (f) were originally written as quavers after which relevant rests would follow. category imprint: Corrections & alterations issues: Corrections in A |
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b. 4
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composition: Op. 28 No. 23, Prelude in F major
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The crossed-out g2 note before the final a2 note, which can be seen in A, and the e2 note, added clearly later, prove that the last 3 semiquavers in the bar were initially f2-g2-a2. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 5-6
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composition: Op. 10 No 11, Etude in E♭ major
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In A there are visible traces of a change of the bottom note in the 3rd chord in bars 5-6 (as well as in bars 13-14, which are marked in an abbreviated form in A as a repetition of bars 5-6). Originally, all the places featured c2, hence Chopin proceeded from the strictly analogous version to bars 1-2. Cf. bars 37-38. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
and the 3rd quaver. It was most probably the 
before a that was removed (superfluous), yet it seems that, for some reason, Chopin also crossed out the correctly written f
-a third, which he then reintroduced next to it. If it was so, the reason could have been, e.g. accidentally blurred noteheads, even partially, as a side effect of removing the natural.