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b. 77
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composition: Op. 64 No 2, Waltz in C♯ minor
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Moving the moment of introducing e1 after e category imprint: Differences between sources; Corrections & alterations |
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b. 78
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composition: Op. 64 No 2, Waltz in C♯ minor
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According to us, the little slur of AI, although not included in the version prepared for print, may be considered a specification of the final notation of the Waltz. category imprint: Differences between sources |
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b. 79-80
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composition: Op. 64 No 2, Waltz in C♯ minor
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There is no category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Inaccuracies in A |
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b. 80-81
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composition: Op. 64 No 2, Waltz in C♯ minor
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The slurring of AI, in the same way as in bars 65-72, is related to the regular four- and eight-bar structure of the phrases – one slur ends on the last quaver in bar 80, whereas the next one begins from the minim in bar 81. The slurring of A corresponds to the moved, more freely shaped phrases. In fact, the first slur does not go beyond bar 80, yet its shape clearly suggests leading it to a category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Inaccurate slurs in A |
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b. 81
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composition: Op. 64 No 2, Waltz in C♯ minor
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In As, in which the second half of this section (bars 81-96) is written only in the form of alternative versions of the first one (bars 65-80), the bar is to be interpreted as identical to bar 65 (except for the bass note at the beginning). However, it cannot be excluded that it is an inaccuracy of notation and that Chopin provided there for a version with an a category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Main-line changes |
1 is another change of this type – cf. 
before the top most note of the chord in bar 79 in 
before the lowest note of the last chord in 
