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b. 547-550
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composition: Op. 31, Scherzo in B♭ minor
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According to us, longer slurs in FE (→EE) are almost certainly an inaccuracy. The engraver could have relied on the R.H. slurs, which also encompass 3 crotchets; in this line of FE (b. 547-552), all 3 L.H. slurs present in such a context encompass 3 crotchets. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 547
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composition: Op. 31, Scherzo in B♭ minor
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GE1 features only one accent in this bar, placed between the staves, closer to the L.H. part. Therefore, we assume that it is a L.H. accent, which means no accent for the R.H. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions |
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b. 548-551
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composition: Op. 31, Scherzo in B♭ minor
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Four accents under the bass octaves were not reproduced in such a form in any of the remaining sources. While GE2 (→GE3) contains all accents, they are placed above the octaves, which is a revision of the text of GE1 on the basis of a comparison with FC and unification by analogy (an accent was added in b. 551, which is absent in FC). category imprint: Differences between sources issues: Errors in FE , Errors in GE , GE revisions , Errors of FC |
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b. 550
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composition: Op. 31, Scherzo in B♭ minor
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The flats added in FESf could not have been written by Chopin, since the copy of FESf comes from an impression released sometime after his death. According to us, the variant entered into FESf may be, however, authentic: the pupil could have written down a change indicated by Chopin in a copy he purchased later. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FESf |
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b. 552-559
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composition: Op. 31, Scherzo in B♭ minor
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In A the slurs over the characteristic quaver motifs generally encompass only the quaver groups in these bars (the only exception are the slurs in b. 554-555, reaching the crotchet at the beginning of the next bar). The remaining sources do not show traces of Chopin's influence on the range of those slurs. Therefore, taking into account the fact that the discussed figures are identical, in every respect, in the main text we unify the slurs, giving always the ones Chopin wrote in A more often. Such a solution was also adopted in GE2 (→GE3). Alternatively, we also suggest 6-note slurs, which are more frequent in similar motifs in the entire Scherzo. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions , EE inaccuracies , Inaccuracies in FC , Uncertain slur continuation |
in 
major chord is an exact equivalent of the G
