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b. 172
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions , Cautionary accidentals |
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b. 172
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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According to us, the dotted rhythm in EE is either an arbitrary revision or a mistake. category imprint: Differences between sources issues: EE revisions |
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b. 173-176
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The clarification that it is also this culminant phrase that unfolds further until the critical chord in b. 177 seems to be an improvement introduced into [AG] (→GE). It is the first out of an entire group of additional markings in GE – cf. b. 177, 177-180, 180-188, 185, 189-191. category imprint: Differences between sources |
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b. 173
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In AF the accent in this bar is shorter than in the next ones. A comparison with AI shows that it is almost certainly an inaccuracy, which, however, could have influenced the interpretation of this and next marks in FE (→EE). GE also features a short accent, which does not have to mean that the notation of [AG] was also ambiguous. The issue of placement of this mark, between the staves, is slightly more difficult, and we discuss it in more detail in the next bars. In this bar we place the mark in the main text in the middle, in accordance with AI. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Placement of markings |
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b. 173
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The slurring of GE, separating the culminant phrase from the course of the preparatory progression, is probably a change introduced by Chopin in [AG] (→GE). category imprint: Differences between sources; Corrections & alterations |
before d
1. It was also added in 
