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b. 49-50
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composition: Op. 29, Impromptu in A♭ major
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The fingering written in FES is universal: it can be used while performing each of the bar's versions. On the other hand, the fingering of FEJ may be applied only in the version of FE (we consider the version of EE as erroneous). The fingering also demonstrates that Chopin accepted the version of FE, which is a strong argument for its authenticity. category imprint: Differences between sources issues: Annotations in teaching copies |
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b. 50
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composition: Op. 29, Impromptu in A♭ major
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In A (→GE1) and FE there is no natural raising d category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Errors in EE , GE revisions , Omission of current key accidentals |
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b. 51
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composition: Op. 29, Impromptu in A♭ major
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The long accent in A was interpreted as short in GE and FE. EE is lacking the accent – it is probably an oversight. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 51
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composition: Op. 29, Impromptu in A♭ major
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The sources differ in the range and position of the crescendo hairpins. In GE the sign was moved between the pentagrams, which particularly in the notation of GE2 (→GE3→GE4) may suggest that it is applicable in the part of the R.H. It cannot be excluded that a similar change was performed in FE, shortening additionally both the beginning and the end of the hairpins. In EE the hairpins begin over the 1st crotchet. category imprint: Differences between sources |
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b. 51
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composition: Op. 29, Impromptu in A♭ major
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EE is lacking the cautionary flat before d category imprint: Differences between sources issues: Cautionary accidentals |
1 into d1. In this context, it is undoubtedly Chopin's oversight, one of the most common. The natural was added in all 3 pupils' copies. In 
