Page: 
Source: 
p. 8, b. 156-171
p. 1, b. 1-30
p. 2, b. 31-52
p. 3, b. 53-67
p. 4, b. 68-82
p. 5, b. 83-111
p. 6, b. 112-140
p. 7, b. 141-155
p. 8, b. 156-171
p. 9, b. 172-186
p. 10, b. 187-204
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A - Autograph
GC - Gutmann's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FE3 - Corrected impression of FE2
FEJ - Jędrzejewicz copy
FED - Dubois copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
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A - Autograph
GC - Gutmann's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FE3 - Corrected impression of FE2
FEJ - Jędrzejewicz copy
FED - Dubois copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
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  b. 170

In the 2nd half of the bar Chopin wrote the R.H. part with two separate voices. In the editors' opinion, the only reason for such a notation were the augmented primes on the 4th and 5th semiquaver. In Chopin's times the modern notation was not yet in use, and the employed method was prone to cause misunderstandings, e.g. in Ballade in G minor, op. 23, bar 170 or in Variations in B major op. 12, bar 110. Therefore, we give the original notation only in our transcripts.

Compare the passage in the sources»

category imprint: Editorial revisions; Source & stylistic information

issues:

notation: Shorthand & other

Missing markers on sources: A, GC, FE1, FE2, FE3, FEJ, FED, FES, EE1, GE1, GE2, GE3