Pitch
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b. 26-27
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A (→FE1,FC→GE1) there are no flats restoring e category imprint: Interpretations within context; Differences between sources issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A , FE revisions , Errors repeated in GE , Errors repeated in FE |
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b. 27
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A one can see a crossed-out category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Enharmonic corrections |
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b. 28
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composition: Op. 28 No. 16, Prelude in B♭ minor
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EE has a category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 29
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A (→FC,FE) there is no accidental before the 2nd semiquaver in the last group. The patent mistake, probably caused by the corrections to the figuration in the 2nd half of the bar, was rectified in GE and EE. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Omissions to cancel alteration , Errors resulting from corrections , GE revisions , Errors of A , Errors repeated in FE |
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b. 29
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The crossings-out and corrections of A allow us to reconstruct the initial version of the figuration in the 2nd half of the bar (analogous to b. 26): category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
2 in these bars, which is Chopin's patent inadvertence. The accidentals were added in 
at the pitch of A
at first.
(cautionary?) before the penultimate semiquaver. In the editors' opinion, it could have been placed there by mistake – it was presumably meant to restore d2 one note before, where it occurs in all the remaining sources, and where it is necessary (the distances between notes indicate that the 
.