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. 25 No 11, Etude in A minor
In the 2nd half of the bar, the only accidental in the part of the R.H. in GC, FE and EE1 is a 
raising d3 to d
3. The notation, although inaccurate, determines also the sound of the 6th and 10th semiquavers in the 2nd half of the bar as d2 and d1. In turn, nothing indicates raising the 3rd, 7th and 11th semiquavers, which, in this situation, should read f3, f2 and f1. This version, however, is impossible in this melodic and harmonic context – the use of g as delay of the fifth of the B7 chord requires f (possibly f
) as resolution. The sharps raising the discussed notes to f3, f2 and f1 were added in GE and later EE (in EE2 without before the 11th semiquaver). Cf. bar 75.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources; Editorial revisions
issues: EE revisions, Errors in FE, Errors in EE, GE revisions, Omission of current key accidentals, Errors of GC
notation: Pitch
