Issues : FE revisions
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b. 142-144
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composition: Op. 23, Ballade in G minor category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Omission of current key accidentals , Authentic corrections of FE , FE revisions , Inaccuracies in A |
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b. 142
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composition: Op. 49, Fantaisie in F minor
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In A and FE1 there is no category imprint: Interpretations within context; Differences between sources issues: GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 143-144
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The crotchets in the L.H. in the 2nd half of each of these bars are written in the sources in the treble clef, which raises doubts, as far as the validity of the accidentals from the 1st half is concerned:
In the graphical layout adopted in the main text the signs are not necessary. category imprint: Differences between sources; Source & stylistic information issues: EE revisions , GE revisions , Cautionary accidentals , FE revisions |
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b. 143
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composition: Op. 19, Bolero
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In FE, there is a visible trace of removal of a superfluous cautionary category imprint: Source & stylistic information issues: FE revisions |
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b. 144-146
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composition: Op. 49, Fantaisie in F minor
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In the 2nd half of bar 144 and 146 there are no accidentals in A. Chopin was generally convinced that notes written at the same pitch do not require repeating accidentals regardless of the presence of an octave sign. The then contemporary rules were not fully established yet, which is proven by the fact that the notation was left unchanged in FE1. Eventually, however, both FE2 (→EE) and GE added all accidentals. Similarly, in further such passages. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
to the bottommost note of the last R.H. chord. The patent oversight was corrected in 
next to c
1.