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p. 1, b. 1-16
p. 1, b. 1-16
p. 2, b. 17-28
p. 3, b. 29-49
p. 4, b. 50-68
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GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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  b. 1

Normal size notes in GC (→GE) & EE

Small notes in FE

It is not certain whether Chopin imagined a barless introduction written with notes of normal size or with small ones. According to us, it is more likely that Gutmann did not recognise small notes in the notation of [A] and a similar mistake committed in the base text to EE or by the engraver of this edition (cf. the Prelude in C minor, Op. 45, bar 79) than an arbitrary change of regular notation to small notes in FE. Other scenarios explaining the origin of this difference are also possible, yet the notation with small notes, used more often in this type of time signature free fragments, generally seems to be more likely here.

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category imprint: Differences between sources

issues:

notation: Rhythm

Missing markers on sources: GC, GE1, EE3, EE1, EE2, GE2, GE3, FE1, FE2, FED, FEJ, FES, GE1a