Issues : EE revisions
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b. 176
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composition: Op. 38, Ballade in F major
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Chopin omitted a category imprint: Editorial revisions issues: EE revisions , Omissions to cancel alteration , GE revisions , Omission of current key accidentals , Errors of A , Errors repeated in FE |
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b. 177-178
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composition: Op. 38, Ballade in F major
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The staccato dot written in A over the first bass octave in bar 177 was overlooked in other sources except EE. In this edition the dots were also added to the next two bass octaves, in the middle of bar 177 and at the beginning of bar 178. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors of GC |
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b. 178
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composition: Op. 38, Ballade in F major
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In A (→GC,FE1→FE2) there is no category imprint: Editorial revisions issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE |
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b. 193-194
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composition: Op. 38, Ballade in F major
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In GC (→GE), the missing second slur in bar 193 is undoubtedly an oversight. The second slur in bar 194 encompasses – in distinct contrast to A – the entire 2nd half of the bar. Three-note slurs in the 2nd halves of these bars occur also in EE. The slurs in A pertain clearly to the last two quavers, and their relatively long ends were presumably meant to distinguish them from semiquaver beams in the R.H. category imprint: Differences between sources issues: EE revisions , Errors in FE , Inaccuracies in GC , Errors of GC |
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b. 195-196
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composition: Op. 38, Ballade in F major
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The four accents in A, although rather big, are nonetheless distinctly shorter than long accents e.g. in bars 39, 41-43 or 68. In GC accents are much longer what was reproduced in GE (the marks in GE are longer than accents in e.g. bars 179-180 or 184). FE has long accents as well, but EE arbitrarily replaced them with vertical accents. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in FE , Inaccuracies in GC |
lowering b2 to b
2 at the beginning of bar, and a 
restoring b1 in the 2nd half of bar. An oversight of both the alteration and its canceling may seem improbable but happened to Chopin a few times, e.g. in Etude in F minor, op. 25 no. 2, 
raising f1 to f
1 in bar 178 and f to f
