Page: 
Source: 
p. 1, b. 1-24
p. 1, b. 1-24
p. 2, b. 25-48
p. 3, b. 49-72
p. 4, b. 73-92
p. 5, b. 93-120
p. 6, b. 121-140
p. 7, b. 141-160
p. 8, b. 161-192
p. 9, b. 193-214
p. 10, b. 215-241
Main text
Main text
GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Corrected reprint of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
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Category
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Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Corrected reprint of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
Importance
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Important
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  b. 1

in GC (→GE) & EE2

in FE (→EE1)

The  time signature in FE (→EE1) is almost certainly a result of inattention or manner of the engravers of FE, who in numerous pieces by Chopin seemed not to differentiate between  and  – see the Etudes, Op. 10 or the Impromptu in A major, Op. 29. Therefore, in the main text we give , written in GC (→GE), whose correctness and authenticity do not raise any doubts. This time signature – probably under the influence of GE – was introduced also in EE2.    

Compare the passage in the sources»

category imprint: Differences between sources

issues: EE revisions, Errors in FE, 4/4 or 2/2

notation: Rhythm

Missing markers on sources: FESch, FED, FES