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p. 13, b. 225-240
p. 1, b. 1-20
p. 2, b. 21-42
p. 3, b. 43-60
p. 4, b. 61-75
p. 5, b. 76-90
p. 6, b. 91-105
p. 7, b. 106-126
p. 8, b. 127-147
p. 9, b. 148-163
p. 10, b. 164-178
p. 11, b. 179-198
p. 12, b. 199-224
p. 13, b. 225-240
p. 14, b. 241-255
p. 15, b. 256-271
p. 16, b. 272-293
p. 17, b. 294-315
p. 18, b. 316-332
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
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  b. 226

No c1 in chord in A (→GE)

c1 in chord in FE (→EE)

The chord featuring a 4th note, c1, is most probably a mistake in the interpretation of the manuscript committed either by Fontana in [FC] or by the engraver of FE1. In all 10 analogous places the chord played in the middle of the bar is an exact repetition of the chord from the beginning of the bar, but an octave higher. In the discussed place this rule is also observed in the A version (→GE). Determining the presence of a middle note of a chord written on a ledger line is a frequent issue when interpreting Chopinesque autographs (this also applies to Fontana's copies).

Compare the passage in the sources»

category imprint: Differences between sources

issues: Errors in FE, Uncertain notes on ledger lines

notation: Pitch

Missing markers on sources: A, FE1, FE2, FEJ, FES, GE1, GE2, EE1, EE2