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Op. 50 No. 3, Mazurka in C♯ minor

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b. 56

composition: Op. 50 No. 3, Mazurka in C♯ minor

Triad in AI & AF (→FE→EE)

Sixth in GE

Our variant suggestion
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It is difficult to say whether the missing b note on the 3rd beat of the bar is an oversight or an intentional change introduced in [AG]; it cannot be excluded that it was performed while proofreading GE1 (cf. similar changes introduced at previous stages of development of the Mazurka's text). Due to the above reason, in the main text we suggest a variant solution – b in brackets.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Authentic corrections of GE

b. 62

composition: Op. 50 No. 3, Mazurka in C♯ minor

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The 1st crotchet in AI is an erroneous G1.

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in the number of ledger lines

b. 62

composition: Op. 50 No. 3, Mazurka in C♯ minor

a1 in AI, AF (→FE) & GE

f1 in EE
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The version of EE is a patent Terzverschreibung. Moreover, the sources differ in the number of cautionary naturals before this chord – two (a and a1) in AI and GE versus one (a only) in AF (→FE→EE).

category imprint: Differences between sources

issues: Errors in EE , Terzverschreibung error , Cautionary accidentals

b. 63-64

composition: Op. 50 No. 3, Mazurka in C♯ minor

..

The notation of AI shows the evolution of the accompaniment in these bars. In both bars Chopin started from a typical bass-chord-chord structure, which he modified in b. 64 by replacing the last chord with a transitional F note. At the same time, he was improving the pitch of the bass notes, which he initially wrote as B and e and then moved them an octave lower (B1 and E); eventually, he left B and E. The way the changes are written is typical of drafts: gentle crossings-out or even leaving two versions with none of them having been crossed out. Therefore, it seems that they were introduced at a time when it was already known that the Mazurka had to be rewritten, hence AI could be used to write down new ideas on the go. The corrections/additions in the next three bars are of similar nature: b. 65 and 67 in the R.H., b. 66 in the L.H.
In b. 64 the same two versions that we can see in AI are also written in AF, whereby the earlier one is definitely crossed out. According to us, it proves Chopin's reduced concentration at the time of writing another autograph of the Mazurka.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes , Corrections of AI

b. 65-67

composition: Op. 50 No. 3, Mazurka in C♯ minor

AF (→FE→EE) & GE (main version in AI)

Alternative version in AI
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In b. 65 and 67, there are two variant versions of the R.H. motifs in AI. Eventually, Chopin used the idea that was written first. 

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Corrections of AI