Page: 
Source: 
p. 4, b. 39-50
p. 1, b. 1-12
p. 2, b. 13-26
p. 3, b. 27-38
p. 4, b. 39-50
p. 5, b. 51-65
p. 6, b. 66-82
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AI - Working autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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AI - Working autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
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EE2 - First English edition
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EE4 - Revised impression of EE3
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  b. 45

b in AI

No b in FE (→GE,EE)

Renouncement of the b semiquaver in the final version finalises the changes whose trace is visible in the deletions of AI:

  • originally, the passage in the R.H. started with an a1, while the remaining elements of the ninth chord were in the part of the L.H.; 
  • starting the passage with bcaused a doubled third of the dominant chord, which Chopin did not like and which he eventually avoided by deleting b.

The four bottom notes of the chord of AI are written as semibreves.

Compare the passage in the sources»

category imprint: Differences between sources; Corrections & alterations

issues:

notation: Pitch

Missing markers on sources: AI, FE1, FE2, FED, FEJ, FES, GE1a, GE2, GE3, GE4, GE5, EE2, EE3, EE4, GE1