mUltimate Chopin

Op. 38, Ballade in F major

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Page: 
Source: 
p. 9, b. 172-186
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
Main text
Main text
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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Articulation, Accents, Hairpins
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Pedalling
Fingering
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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. 186

b & b1 in A (→GC,FE,EE)

b & b1 in GE1

b & b1 in GE2 (→GE3)

Before the first semiquaver GE added a lowering b to b, and GE2 (→GE3) also shifted the  lowering b1 to b1 from before the 5th semiquaver to before the 3rd one. These arbitrary changes continue the harmonic revisions initiated by the addition of a  lowering b1 to b1 in the middle of the previous bar.

See b. 185

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: GE revisions

notation: Pitch

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