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b. 208

composition: Op. 12, Variations in B♭ major

..

Starting from a3, the sources are devoid of flats. In Chopin's time, there were no strict rules concerning the scope of accidentals under an octave sign (or they were not strictly observed), hence accidentals were often omitted in similar situations. Wherever the text is obvious, as, e.g. in this case, we add respective accidentals in content transcriptions and in the main text.

category imprint: Interpretations within context; Editorial revisions

issues: Accidentals in different octaves , Inaccuracies in FE

b. 209

composition: Op. 12, Variations in B♭ major

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The natural raising b3 to b3, omitted in FE (→GE) – cf. the end of bar 212 – was added in EE. The patent mistake (by the engraver or by Chopin) is proven by the cautionary  to b3 at the beginning of the next bar.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: EE revisions , Errors in FE , Cautionary accidentals , Errors repeated in GE

b. 209

composition: Op. 12, Variations in B♭ major

..

In the main text we omit the unnecessarily repeated accidentals in the 2nd half of the bar – the  to e3 and the  to f3.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 210

composition: Op. 12, Variations in B♭ major

..

In the main text we add a cautionary  to e2.

category imprint: Editorial revisions

b. 211

composition: Op. 12, Variations in B♭ major

..

In FE the  raising f1 to f1 was omitted here. This patent mistake – see the R.H. part – was corrected both in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals