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. 4), Sonata in C minor




Op. 10 No 4, Etude in C♯ minor
In AI the first 3 semiquavers in the 2nd half of the bar are written as f2-g
2-f
2 in the R.H. and f
1-f
1-f
1 in the L.H. Chopin changed the notation in a proofreading of FE (→GE,EE). However, he left the sharps before f
1 and f
2 at the beginning of the last semiquaver group, superfluous after the change.
Compare the passage in the sources »
category imprint: Differences between sources; Editorial revisions; Corrections & alterations
issues: Enharmonic corrections, Authentic corrections of FE
notation: Pitch