Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 10 No 2, Etude in A minor
The sources prove Chopin's hesitation concerning the notation of the 3rd semiquaver on the 2nd and 3rd beats of the bar. It is best seen in Ap, in which the clear traces of corrections are visible in the 2nd group of the notes, and possible ones – in the 3rd one. In the case of the first of the corrections, a
2, most probably, was changed to g
2, however, in the photograph available to the editors of mUltimate Chopin, one cannot certainly determine the direction of the changes. The result of the possible second correction is obvious – g2.
In the remaining sources the difference concerns only the 7th note, which in CLI is written as g2 and in FE (→GE,EE) – as a2. The hesitation was probably a result of the natural returning a2 in the 3rd group of semiquavers (added in one of the later proofings).
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations
issues: Errors in FE, Enharmonic corrections, Authentic corrections of FE
notation: Pitch
