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. 28 No. 17, Prelude in A♭ major
At the beginning of the bar, in FCI one can see a quaver dyad in the bottom R.H. voice. The top note is d2, while the pitch of the bottom note is poorly legible on the available photograph – it can be g1 or g1 transformed into a
1. To our interpretation of FCI we adopt the latter, i.e. a self-correction of the copyist resulting in a1.
Compare the passage in the sources »
category imprint: Graphic ambiguousness
notation: Pitch
