Pitch
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b. 246
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composition: Op. 49, Fantaisie in F minor
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In the 2nd half of the bar there are no accidentals in A and FE. Three flats overlooked by Chopin were being added in the remaining editions – in GE1 two were added, to g category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 247
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composition: Op. 49, Fantaisie in F minor category imprint: Interpretations within context; Differences between sources issues: Errors in FE , FE revisions |
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b. 248
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composition: Op. 49, Fantaisie in F minor
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In A Chopin overlooked the category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Errors of A , FE revisions , Errors repeated in FE |
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b. 250
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composition: Op. 49, Fantaisie in F minor
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FE2 restored – perhaps at Chopin's request – the version of the bottom notes of the first two quavers as it was in A, which is an argument that the FE1 text is almost certainly a double mistake by the engraver. category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error , Authentic corrections of FE |
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b. 250
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composition: Op. 49, Fantaisie in F minor
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In A and FE there is no accidental to the bottom note of the 7th quaver. One pedal for the entire 2nd half of the bar proves that Chopin heard here one chord, with g category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Inaccuracies in A , Errors repeated in FE |
and g
lowering g2 to g
to the next note!). The patent mistake was repeated only in 
