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b. 83-102
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the pedalling added by Chopin in FC (→GE). In that manuscript Chopin copies one pedal encompassing two bars wherever a pair of bars is based on the same chord: b. 81-82, 83-84, 85-86, 91-92, 93-94, 97-98, 99-100 & 101-102. Another pedalling, most probably also authentic, was added in FE (→EE), in which one pedal encompassing two bars is indicated only in b. 81-82 & 97-98 (the remaining ones are provided with a whole-bar pedal). In spite of the fact that the second pedalling is almost certainly later, in the main text we give the pedalling of FC, since the corrections visible therein (deletions of markings at the end of b. 81 and 91) prove that the composer considered it to be better. Naturally, it cannot be ruled out that while adding pedalling marks in FE Chopin consciously returned to the original concept; however, according to us, it is more likely that it was a result of lack of adequate concentration, e.g. due to haste. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of FC |
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b. 83-86
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give a pair of category imprint: Differences between sources |
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b. 84-85
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composition: Op. 31, Scherzo in B♭ minor
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In A there is a visible deletion of the tie of d category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Main-line changes |
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b. 87-88
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the slurring written by Chopin in A (→FC→GE1, →FE→EE). The continuous slur in GE2 results from the comparison with the authentic slurring in analogous bars 219-220 and 670-671. In the editors' such a uniformity is not justified in this context. category imprint: Differences between sources issues: GE revisions |
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b. 89-94
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give a category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC , Alterations in CF |
in 
3 in these bars. Therefore, the starting point was a literal repetition (a fifth higher) of the beginning of this theme (b. 65-72) in b. 81-88. After the correction, in the third segment of this progression Chopin introduced a third melodic variant of its pattern. At the same time, he restored the strike in the 5th bar of the eight-bar section, in b. 69 and 77 implemented by the bottom voice of the R.H.
