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p. 3, b. 61-87
p. 1, b. 1-27
p. 2, b. 28-60
p. 3, b. 61-87
p. 4, b. 88-105
p. 5, b. 106-124
p. 6, b. 125-142
p. 7, b. 143-158
p. 8, b. 159-173
p. 9, b. 174-188
p. 10, b. 189-206
p. 11, b. 207-225
p. 12, b. 226-243
p. 13, b. 244-260
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FE - French edition
FE1 - First French edition
FEO - Orda copy
FES - Stirling copy
FESf - Schiffmacher copy
GE - German edition
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EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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FE - French edition
FE1 - First French edition
FEO - Orda copy
FES - Stirling copy
FESf - Schiffmacher copy
GE - German edition
GE1 - First German edition
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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  b. 77

 a3 in FE (contextual interpretation) GE & EE3

 a3 in EE1 (→EE2)

FE does not have an accidental before the last note in the bar. In this type of situations, Chopin generally considered the previous signs placed an octave lower to be binding (e.g. like in the case of the previous note, g3), however, it was not a strict rule. Both GE and EE specified the sound of this note, yet each differently – GE added a , whereas EE1 (→EE2) – a . A comparison with similar figures in this and in the previous bar provides an argument for a3; the conclusion is confirmed by the cautionary  before ain the next bar. The version with awas introduced also in EE3.

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: EE revisions, Inaccuracies in FE, Errors in EE, GE revisions

notation: Pitch

Missing markers on sources: FE1, FEO, FES, FESf, GE1, EE1, EE2, EE3