Page: 
Source: 
p. 5, b. 115-146
p. 1, b. 1-28
p. 2, b. 29-60
p. 3, b. 61-87
p. 4, b. 88-114
p. 5, b. 115-146
Main text
Main text
A - Autograph
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Later impression of GE2
FE - French edition
FE1 - First French edition
FED - Dubois copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Second impression of EE1
EE3 - Revised impression of EE2
Select notes: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
A - Autograph
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Later impression of GE2
FE - French edition
FE1 - First French edition
FED - Dubois copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Second impression of EE1
EE3 - Revised impression of EE2
Importance
All
Important
Main
Prezentacja
Select 
copy link PDF Main text


  b. 138

According to the principles governing use of cautionary accidentals that we have adopted, the  before g flat in the 3rd chord is unnecessary. The reason why Chopin put it in A (→GE→FEEE) was probably the non-typical chord orthography that may bring associations with the diminished triad g - c sharp1- e1. Chopin introduced that enharmonically changed notation in the last phase of writing A, which is testified by the visible deletion of the chord originally written as the previous one.

Compare the passage in the sources»

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A, Cautionary accidentals, Enharmonic corrections

notation: Pitch

Missing markers on sources: GE1, GE2, GE3, FE1, FED, FES, EE1, EE2, EE3