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p. 3, b. 49-72
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
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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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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
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GE2 - Corrected reprint of GE
EE - English edition
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  b. 56

In the sources, the chord at the beginning of the bar is written monophonically, in spite of varying rhythmic values. Chopin, striving for a maximal simplicity of notation, would often use such notation (cf. e.g. the Etudes Op. 10, in E minor, No. 6, bar 20 i 46F major, No. 8, bar 47, 49 and 50C minor, No. 12, bar 57). In the places where the original notation can be improved without an excessive complication of the notation, we introduce relevant corrections.

Compare the passage in the sources »

category imprint: Editorial revisions

issues: Different values of chord components

notation: Rhythm

Missing markers on sources: FESch, FED, FES