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p. 9, b. 159-181
p. 1, b. 1-22
p. 2, b. 23-36
p. 3, b. 37-51
p. 4, b. 52-75
p. 5, b. 76-94
p. 6, b. 95-111
p. 7, b. 112-133
p. 8, b. 134-158
p. 9, b. 159-181
p. 10, b. 182-209
p. 11, b. 210-230
p. 12, b. 231-247
p. 13, b. 248-263
p. 14, b. 264-285
p. 15, b. 286-309
p. 16, b. 310-333
p. 17, b. 334-359
p. 18, b. 360-379
p. 19, b. 380-399
p. 20, b. 400-419
p. 21, b. 420-443
p. 22, b. 444-468
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FE - French edition
FE1 - First French edition
FEJ - Jędrzejewicz copy
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE2
EE3 - Revised impression of EE2
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FE - French edition
FE1 - First French edition
FEJ - Jędrzejewicz copy
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE2
EE3 - Revised impression of EE2
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  b. 172

In the main text, we add naturals before the 1st and 3rd semiquavers of the 2nd half of the bar (a2 and e3). The absence of accidentals in such a configuration was not considered a mistake back in Chopin's times – the accidentals from the 1st half of the bar, although they refer to a1 and e2, were considered to be valid also in the case of a2 and e3 in the further part of the bar, encompassed with an octave sign.

Compare the passage in the sources»

category imprint: Interpretations within context; Editorial revisions

issues: Accidentals in different octaves, Inaccuracies in FE

notation: Pitch

Missing markers on sources: FE1, FEJ, GE1, GE2, EE1, EE2, EE3