Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 50 No. 3, Mazurka in C♯ minor
AI is devoid of tempo markings. Generally, there are barely 3 verbal indications in the entire AI: 
in b. 17 and 89 and 
in b. 191; therefore, Chopin apparently abandoned writing more detailed performance indications when it turned out that this autograph would not be a Stichvorlage. Due to the above reason, both here and hereinafter we generally indicate the absence of indications in AI in notes (these versions are suggested as variants only when one of the remaining sources is lacking in indications).
The crossings-out visible in AF over the beginning of the piece prove that Chopin was looking for the best indication of its tempo and character, just like in both previous Mazurkas.
Compare the passage in the sources »
category imprint: Differences between sources; Corrections & alterations; Source & stylistic information
issues: Corrections in A, Chopin's hesitations, Deletions in A
notation: Verbal indications
