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b. 306

composition: Op. 31, Scherzo in B♭ minor

Arpeggio sign in A

No sign in FC (→GE) & FE (→EE)

..

The missing arpeggio must be an oversight of the copyist and the engraver of FE: the mark in A is inconspicuous, since it is atypically placed between the accidentals, and not notes.

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 307-309

composition: Op. 31, Scherzo in B♭ minor

Small notes in A (→FCGE)

Regular font in FE (→EE)

..

The notation in normal font notes is a result of the engraver of FE (→EE) having misunderstood A.

category imprint: Differences between sources

issues: Errors in FE

b. 307

composition: Op. 31, Scherzo in B♭ minor

..

In A one can see the original crossed-out version of that crotchet, i.e. the G-d-b chord.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 307

composition: Op. 31, Scherzo in B♭ minor

g1 in A (→FCGE) & FESf

b1 in FE (→EE1), contextual interpretation, and EE2 (→EE3)

..

The 2nd small quaver in FE (→EE1) is an erroneous b1, which we interpret as b1, since overlooked accidentals are much more common than Terzverschreibung mistakes. This is how this place was revised in EE2 (→EE3), by adding a  before that note. The correction in ink performed in FESf restores the correct pitch of that note, i.e. g1

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors repeated in EE

b. 309

composition: Op. 31, Scherzo in B♭ minor

..

In A one can see that the last two crotchets in the bar were initially provided with stems pointing down. The change emphasised their affiliation to the top voice, despite the fact that the bottom one had not yet begun. It was only after that correction that Chopin changed the slurring concept.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A