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p. 1, b. 1-12
p. 1, b. 1-12
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A - Autograph
FC - Fontana's copy
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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A - Autograph
FC - Fontana's copy
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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  b. 1-10

Notation in A

Notation in FC

Notation in FE (→EE), GE & CGS

We reproduce the dotted rhythms against the triplets in the R.H. in accordance with the notation of A (→FC), in which the semiquavers fall exactly over the 3rd quaver of the accompanying triplets. In FE (→EE) and GE the semiquavers were arbitrarily moved beyond the 3rd note of the triplets, contrary to the convention Chopin would use all his life. See the Nocturne in C Minor, Op. 27 No. 1, b. 5-13.
The issue of separating the top voice is related to the above problem. We adopt a notation (used in A undoubtedly on purpose, yet inconsistently) in which the top note of the chord is combined with the bottom ones with a stem. FC (→GE) and FE (→EE) considered it a superfluous complication and separated the voices. Such a notation is also to be found in CGS.

See b. 8

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category imprint: Differences between sources

issues: GE revisions, Dotted rhythms and triplets, FE revisions

notation: Rhythm

Missing markers on sources: CGS, FC, FE1, FE2, FED, FEJ, FES, FESch, GE1, GE2, GE3, EE1, EE2, EE1a